Here’s a bold truth about the art world: Transparency about sales is becoming a rare commodity, especially among emerging galleries at major art fairs like Frieze. While mega-galleries often boast about their pre-fair sales and openly discuss their success, smaller and midsize galleries are increasingly tight-lipped about their transactions—or lack thereof. But here’s where it gets controversial: Is this secrecy a sign of struggle, or a strategic move to maintain an air of exclusivity? Let’s dive in.
At Frieze London, the Focus section—dedicated to emerging galleries—was a study in contrasts. When I approached dealers to inquire about sales, many politely deflected. Some admitted, off the record, that they were facing an uphill battle. One dealer even revealed that their smallest booth, at 260 square feet, cost a staggering £6,750 ($9,000), adding immense pressure to perform. And this is the part most people miss: while a few galleries reported strong sales, others confessed they hadn’t sold a single piece by mid-week.
Yet, it’s not all gloom. Several of the 35 Focus galleries celebrated notable successes by Wednesday’s end. For instance, London’s Ginny on Frederick sold both works it brought to the fair, each priced between £20,000 and £30,000 ($26,000–$40,000). These pieces, by British artist Alex Margo Arden, titled Accounts (2025) and Daily Departmental Accident Record (2025), were acquired by the Arts Council Collection, a significant milestone for the artist. Gallery founder Freddie Powell noted, ‘Alex’s work interrogates authority, authenticity, and labor—themes that resonate deeply today.’
Other standout performers included Brunette Coleman, which sold out its booth with works priced up to £25,000 ($33,000), and Canadian gallerist Eli Kerr, who reported selling ‘most’ of his presentation. Wschód, with spaces in Warsaw and New York, also claimed to have sold ‘most’ of its inventory, though prices remained undisclosed. East London’s Public gallery sold six works by Chinese artist Xin Liu, including an institutional acquisition, while Gathering placed the majority of Paris-based artist Christelle Oyiri’s works, priced up to £20,000 ($27,000).
However, the disparity was stark. When I revisited the Focus floor on Wednesday, one American dealer admitted they were still waiting for their first sale. Another gallerist, who had sold just one piece the day before, simply said, ‘Nothing to tell you, I’m afraid.’ By Thursday, foot traffic had noticeably dwindled, though Amsterdam’s Diez gallery confirmed selling a few works for under €2,000 ($3,000).
Diego Diez, Diez gallery’s director, offered a thought-provoking observation: ‘Non-UK dealers feel the market is becoming increasingly local, despite efforts to appear global.’ This raises a question: Are art fairs like Frieze truly international platforms, or are they favoring local players? Is the art world becoming more insular, and if so, what does that mean for emerging galleries from abroad?
As the fair continues, one thing is clear: the art market’s dynamics are shifting, and not everyone is willing to share their story. What do you think? Is secrecy a sign of struggle, or a strategic move? Share your thoughts in the comments—let’s spark a conversation.
